The Christophers

With Ian McKellen in superbly crotchety form and Michaela Coel exuding chilly cunning, it’s further proof that Soderbergh remains one of American cinema’s most inimitable, and adventurous, auteurs.

The Christophers is a talky, at times incredibly funny, comedy drama with plot reversals that make it feel like it’s on the verge of a thriller. It doesn’t end up there, at least not strictly, but it’s unpredictable enough to never make us entirely sure just where it’s heading.

Real or fake, finished or not, a genre exercise or a full-hearted statement of purpose, the things we create have an impact on the world that no market could ever be able to measure. And, for better or worse, the same is true of the people who are brave enough to create them.

McKellen has been given a wonderful late-career gift in Steven Soderbergh’s The Christophers, a role that allows him to deliver one of his best performances in years.

The Christophers trusts its two leads and their characters to guide the audience to its desired conclusion, and watching it unfurl is a rewarding experience.

An intriguing formal experiment from Steven Soderbergh, focused on two solid performances by Sir Ian McKellen and Michaela Coel.

For audiences wishing to see two actors dig into juicy roles, The Christophers will get the job done. If you’re looking for a deep analysis of originality and artifice, look elsewhere.